On July 4th, 2006, I embarked on a quest to become the pre-eminent American portrait painter of the 21st century. This blog chronicles that journey. With apologies to Joan Didion, I call it THE YEAR OF MAGICAL PAINTING.

Saturday, June 21, 2014

"Half of the time we're gone and we don't know where"

Sometimes we do something but we're not sure what it is until somebody tells us. I refer, of course, to this ...

I don't know why the image cuts off partway down the page, but since my paintings were not pictured, I'm not getting to worked up about losing them. Since I'm not. Since they're not pictured.

An excerpt of the first paragraph, since you almost certainly can't read it, goes like this ...

"... and Geoffrey Raymond's identification with the struggle of socio-economic oppression in portraiture (aligned with the iconic work of Chuck Close) ..."

Out of context it sounds okay enough, although the placement of "in portraiture" is a bit ungainly, as one might think the oppression is happening in portraiture, rather than the identification -- if I understand this correctly. In context I'm not fully convinced.

Regardless, I attended the opening of "Art after 'The Art Album' Vol. 1" which featured two paintings of mine: The American Investor and The American Worker. And it was lovely. You walk in the front door; the gallery, Castle Fitzjohns, on Orchard near Delancy, is, as so many are, relatively long for its width; you are drawn to the painting at the far wall of the beautiful black woman wearing a Black Sabbath t-shirt (which you can see above); then you turn right and there my two paintings are. Lovely. Although I think the Black Sabbath girl was the coolest thing in the room. I was quite taken by it.